Post by witness on Aug 22, 2009 0:53:54 GMT -5

I like this episode for the plain fact of David's character development. This is the first long-term relationship we discover from his past. That Jillian walked out on him explains a lot--betrayal, for AT LEAST the 2nd time (wife), caused Dave to tuck the ol' heart of his back under his sleeve. Until fair Maddie comes along. So just as Dave is starting to trust a woman again, the one who betrayed him comes streaming back into his heart. She betrays him 100x worse this time, causing him to realize Maddie is a woman to rely and depend on (until season 4 that is). But, Dave realizes in the final scene (rose and note) that he may have pulled his heart out from that sleeve a little prematurely, thus removal of said rose and note (signed LOVE, D). Wow...our dear Dave is a veritable onion is he not? What fun it is pulling away the layers.

One thing that always confused me: David accuses Jillian of "loosening that balcony railing". When? Did she know David SO WELL that she did it anticipating his arrival at her hotel room?Guess it doesn't matter in the grand scheme of things but...

Post by sandra on Dec 14, 2010 5:14:24 GMT -5

A 7... just because it makes me uncomfortable, too.

Of course I like the jealousy, Maddie finally realizing and admitting it, but I hate how Jillian still manages to get to David. And that this new betrayal of hers causes sweet onion David to keep his layers tight...

Post by dedaved on Jun 26, 2012 13:44:15 GMT -5

Rating: 8

Dana Delany is an example of some of the brilliant casting this show pulled off. The history between her and David is palpable from the start and the tension only builds from there. The inspired use of Motown continues with one of the single most heart melting dance scenes ever. Under the moonlight to the tune of the Isely Brothers, such a gorgeous scene... Just a shame it wasn't with Maddie ... And a shame she was merely setting David up.

This also marks the first truly inspired bit of genius from Alf Clausen whose wonderfully silly composition of the chase scene set the tone for the Warner cartooon style of composing. We start with "those magnificent men in those flying machines" as they go up and down through the drive in, followed by "take me out to the ball game" on the basebal field and when the coffin falls out the back on to the plate we hear that grim reaper theme (not sure what that piece of music is called). Clausen would take this "reference" style of scoring with him to the Simpsons after perfecting it during his time on Moonlighting. Think of all the times you've heard the music on The Simpsons jump around from different pieces, song references and genres in the space of a scene.